‘Sully’ best of Clint Eastwood in 10 years

Clint Eastwood is one of the great Americans still active managers, but that does not mean that all his works are great films. In fact, already he had a whopping 10 years without giving us an excellent title. In that time interval itself has been very estimable space for productions like ‘Gran Torino’ or ‘J.Edgar ‘ -the first rather than the second, yes-, but even they lacked something to equate their best works.

I had high hopes that this would change with ‘Sully’ much that was his first collaboration with Tom Hanks and also with the added nuance contase having rolling using IMAX cameras, something which unfortunately loses relevance to see it in a film conventionally. I was wrong, as we are to the best of Eastwood for “Letters from Iwo Jima ‘ (‘ Letters From Iwo Jima ‘) and still not sure if it’s even better than that.

The other side of the hero

It has always fascinated me the strong American tendency to become heroes to many people who have done something extraordinary then knock them down at the first opportunity of it. Surely they not deserve neither first and second, but those fluctuations leave you forever scarred and great dramatic axis ‘Sully’ is precisely that. Was Chesley Sullenberger a hero or just arranged the big mistake he made when deciding landing on the Hudson River?

Therefore, the script Todd Komarnicki focuses on what happened after the investigation to determine responsibility for what happened. Come on, nobody died, but there are many compensations to pay and Sully becomes the easy target to blame for everything. That leads to what could be seen as a demonization of the NTSB, but not an exaggerated dramatic license but a simple reinforcement to extend the range of emotions that the protagonist fighting.

This is where comes in the essential contribution of Hanks, who is certain that recurs in part on his image of American honest means, but here has a different approach, being completely devoid of the weapon of humor to create the necessary connection with the public . Here it is to achieve through suffering and internal doubts occasionally shown through flashbacks and visions as reinforcement, but almost always relying on his acting ability.

Overwhelming on many fronts was apparently limited to simple lost and put face circumstances. In fact, it would have been enough something like this in a simple and correct proposal, but is not the case of ‘Sully’ because Eastwood blindly trust him to keep the dramatic interest of the film during its first two thirds. Its successes, doubts and how to deal with other people’s enthusiasm while his universe collapses and you get caught in itself, but Hanks takes you beyond .

The grand final stretch of ‘Sully’

The great added difficulty of this goal is that the script Komarnicki denies Hanks the enormous support it would receive from display input what happened during those 208 seconds, leaving in doubt the viewer about whether you really did the right thing. It is he who he has returned to convince what seems obvious as they arise evidence pointing in another direction.

It is true that has the support of several minor characters – there shines the most isAaron Eckhart as the great support when doubts Hanks Sully is a solvent disparan- and staging work by Eastwood on the line his approach with a more classic and rested touch that has not lately estila too, but he is the one that elevates the film to Eastwood takes control, increases the intensity and leaves us with goosebumps without betraying at any time the spirit of the movie.

It was clear that the reconstruction of what happened would be the height dramatic point of ‘Sully’ and the most spectacular visual phase , which would have created an imbalance in either direction. That does not happen here, because Eastwood does it all work with amazing accuracy, even details that at first invite distrust as to most of the dramatic weight of the passenger experience three characters – a father and his two sons and Adults-.

That masterful reconstruction of what happened is what leads to ‘Sully’ to another level , having little to envy Eastwood’s best work. Perhaps a little more lean on the archetype with some side, but really bring what is required of them while the need to know more about them. Beyond that, an effective and concise traditional research something interesting, yes, but the latter one of the great successes of the film, an outstanding job of Hanks and Eastwood who knows when to take control and impact us .

In short, ‘Sully’ is a great film that verges at all times at a very good level, but he knows to go several steps further in his final minutes to finish conquer completely in a riskier move than meets the eye – everything revolves around what happens then and could have happened that the viewer came to it – tired. If we add an inspired Hanks, what is left is a tape that you can not miss the halls without having seen before. More reviews on http://merchantdroid.com/